document_title: Pride & Prejudice (2005 film)

question_text: who plays elizabeth bennet in the movie pride and prejudice

text: Pride & Prejudice (2005 film)

text: Plot[edit]

text: During the late 18th century, the Bennet family, consisting of Mr. and Mrs. Bennet and their five daughters—Jane, Elizabeth, Mary, Kitty and Lydia—live in comparative financial independence as gentry at Longbourn, a working farm in rural England. As the Bennets have no sons, Longbourn is destined to be inherited by Mr. Bennet's cousin, Mr. Collins, and so Mrs. Bennet is anxious to marry off her five daughters before Mr. Bennet dies, to secure herself in her widowhood.

text: Wealthy bachelor Charles Bingley has recently moved into Netherfield, a nearby estate. He is introduced to local society at an assembly ball, along with his haughty sister Caroline and reserved friend, Mr. Darcy, who "owns half of Derbyshire". Bingley is enchanted with the gentle and beautiful Jane, while Elizabeth takes an instant dislike to Darcy after he coldly rebuffs her attempts at conversation and after she later overhears him insulting her. When Jane becomes sick on a visit to Netherfield, Elizabeth goes to stay with her, verbally sparring with both Caroline and Darcy.

text: Later the Bennets are visited by Mr. Collins, a pompous clergyman who talks of little but his patroness, Lady Catherine de Bourgh. After learning from Mrs. Bennet that Jane is expected to become engaged soon, Collins decides to pursue Elizabeth, utterly oblivious to her lack of interest in him. Meanwhile, the easy-going and charming Lieutenant Wickham of the newly-arrived militia captures the girls' attention; he wins Elizabeth's sympathy by telling her that Darcy had cheated him of his inheritance. At a ball at Netherfield, Elizabeth, startled by Darcy's abrupt appearance and request, accepts a dance with him before realizing it, but vows to her best friend Charlotte Lucas that she has "sworn to loathe him for all eternity". During the dance, she attacks him with witty sarcasm and Darcy responds in kind. At the same ball, Charlotte expresses concern to Elizabeth that Jane's behaviour towards Mr. Bingley is too reserved and that Bingley may not realise that she loves him.

text: The next day at Longbourn, Collins proposes to Elizabeth but she strongly declines. When Bingley unexpectedly returns to London, Elizabeth dispatches a heartbroken Jane to the city to stay with their aunt and uncle, the Gardiners, in hopes of re-establishing contact between Jane and Bingley. Later, Elizabeth is appalled to learn that her friend Charlotte will marry Collins to gain financial security and avoid remaining a spinster.

text: Months later, Elizabeth visits the newly-wed Mr. and Mrs. Collins at Rosings, Lady Catherine's manor estate; they are invited to dine there and meet Darcy and Colonel Fitzwilliam, Lady Catherine's nephews. Here Darcy shows greater interest in Elizabeth. The next day, not realizing that Jane is Elizabeth's sister, Colonel Fitzwilliam lets slip to Elizabeth that Darcy had separated Bingley from Jane. Distraught, she flees outside, but Darcy chooses that moment to track her down and propose marriage.

text: He says he loves her "most ardently" despite her "lower rank." Elizabeth refuses him, citing his treatment of Jane, Bingley, and Wickham; they argue fiercely, with Darcy explaining that he had been convinced that Jane did not return Bingley's love. Darcy leaves angry and heartbroken. He finds Elizabeth later and presents her with a letter, which explains that Wickham is a gambler who demanded and received £3,000 in cash in-lieu of the clergy position intended for him by Darcy's father; upon being refused more money, after having squandered it all a few years later, Wickham attempted to seduce and elope with Darcy's 15-year-old sister, Georgiana, to obtain her £30,000 inheritance but abandoned her upon learning that he would never receive the money.

text: A couple of months later, the Gardiners take Elizabeth on a trip to the Peak District; their visit also includes Darcy's estate, Pemberley; Elizabeth agrees to go with them, believing he is in London. Elizabeth is impresssed by its wealth and beauty and hears nothing but good things about Darcy from his housekeeper. There, she accidentally runs into Darcy who has arrived home early. He invites her and the Gardiners to meet his sister. His manners have softened considerably, and Georgiana takes an instant liking to Elizabeth. When Elizabeth learns that her immature and flirtatious youngest sister Lydia has run away with Wickham, she tearfully blurts out the news to Darcy and the Gardiners before returning home. Her family expects social ruin for having a disgraced daughter, but over a week later they are relieved to hear that Mr. Gardiner had discovered the pair in London and that they had married. Lydia later slips to Elizabeth that Darcy was the one who found them and paid for the marriage.

text: When Bingley and Darcy suddenly return to Netherfield, Jane accepts Bingley's proposal. The same evening, Lady Catherine unexpectedly visits Elizabeth, insisting she renounce Darcy as he is supposedly to marry her own daughter, Anne. Elizabeth refuses and, unable to sleep, walks on the moor at dawn. There, she meets Darcy, also unable to sleep after hearing of his aunt's behaviour. He admits his continued love and Elizabeth accepts his proposal.

text: Mr. Bennet gives his consent after Elizabeth assures him of her love for Darcy. In the U.S. release of the film, an additional last scene shows the newlyweds outside at Pemberley, happy together.

text: Cast[edit]

text:
Keira Knightley as Elizabeth Bennet
Matthew Macfadyen as Mr Fitzwilliam Darcy
Brenda Blethyn as Mrs Bennet
Donald Sutherland as Mr Bennet
Tom Hollander as Mr William Collins
Rosamund Pike as Jane Bennet
Carey Mulligan as Catherine (Kitty) Bennet
Jena Malone as Lydia Bennet
Talulah Riley as Mary Bennet
Judi Dench as Lady Catherine de Bourgh
Simon Woods as Mr Charles Bingley
Tamzin Merchant as Georgiana Darcy
Claudie Blakley as Charlotte Lucas
Kelly Reilly as Caroline Bingley
Rupert Friend as Mr George Wickham
Rosamund Stephen as Anne de Bourgh
Cornelius Booth as Colonel Fitzwilliam
Penelope Wilton as Mrs Gardiner
Peter Wight as Mr Gardiner
Meg Wynn Owen as Mrs Reynolds
Sinead Matthews as Betsy

tag: ul

text: Production[edit]

text: Conception and adaptation[edit]

text: As with several recent Jane Austen adaptations, Pride & Prejudice was an Anglo-American collaboration, between British studio Working Title Films (in association with French company StudioCanal) and its American parent company Universal Studios.[6][7] Working Title at the time was known for mainstream productions like Bridget Jones's Diary and Love Actually that drew international audiences,[8] rather than films in the historical drama genre.[9] Its co-chairman Tim Bevan explained that the studio wanted to "bring Austen's original story, concentrating on Lizzie, back in all its glory to the big screen for audiences everywhere to enjoy".[10] Given a "relatively inexpensive" budget of £22 million ($28 million),[2][3] the film was expected to excel at the box office, particularly based on the commercial successes of Romeo + Juliet (1996) and Shakespeare in Love (1998) as well as the resurgence of interest in Austen's works.[11][12]

text: Given little instruction from the studio, screenwriter Deborah Moggach spent over two years adapting Pride and Prejudice for film. She had sole discretion with the early script, and eventually wrote approximately ten drafts.[14][15] Realising it held "a perfect three-act structure",[15] Moggach attempted to be as faithful to the original novel as possible, calling it "so beautifully shaped as a story – the ultimate romance about two people who think they hate each other but who are really passionately in love. I felt, 'If it's not broken, don't fix it.'"[10] While she could not reproduce the novel's "fiercely wonderful dialogue in its entirety", she attempted to keep much of it.[10]

text: Moggach's first script was closest to Austen's book, but later versions trimmed extraneous storylines and characters.[15] Moggach initially wrote all scenes from Elizabeth's point of view in keeping with the novel; she later set a few scenes from the male perspective, such as when Bingley practices his marriage proposal, in order to "show Darcy and Bingley being close" and to indicate Darcy was a "human being instead of being stuck up".[14] Small details were inserted that acknowledged wider events outside of the characters' circle, such as those then occurring in France.[10] While Moggach is the only screenwriter credited for the film, playwright Lee Hall also made early additions to the script.[16][17]

text: Television director Joe Wright was hired in early 2004,[17] making Pride & Prejudice his directional feature film debut.[18] He was considered a surprising choice for a film in the romance drama genre due to his past work with social realism.[19][20] Wright's body of work had impressed the producers,[10] who were looking for a fresh perspective;[8] they sent him a script despite the fact that Wright had not read the novel.[10][21] He commented that at the time, "I didn't know if I was really all that interested; I thought I was a little bit more mainstream than this, a bit more edgy. But then I read the script and I was surprised I was very moved by it".[22] He next read the novel, which he called "an amazing piece of character observation and it really seemed like the first piece of British Realism. It felt like it was a true story; had a lot of truth in it about understanding how to love other people, understanding how to overcome prejudices, understanding the things that separate us from other people ... things like that."[22]

text:
"I wanted to make something that is about young people, about young people experiencing these emotions for the first time and not understanding the feelings they are having. If you have a 40-year-old man as your star not understanding the feeling he's having then it becomes a bit unbelievable and suspect, rather like The 40-Year-Old Virgin or something instead of Pride & Prejudice".

— Director Joe Wright commenting on the ages of the actors in the 1940 adaptation[22]

tag: div

text: The only adaptation of Pride and Prejudice Wright had seen was the 1940 production, which was the last time the novel had been adapted into a feature film. The director purposely did not watch the other productions, both out of fear he would inadvertently steal ideas and because he wanted to be as original as possible.[22] He did, however, watch other period films, including Ang Lee's Sense and Sensibility, Roger Michell's Persuasion, and John Schlesinger's Far from the Madding Crowd; Wright cited this last film as the greatest influence on his own adaptation, calling it "very real and very honest – and it is quite romantic as well".[23] In trying to create an atmosphere of charged flirtation, the director also gained inspiration from teen romance films such as Sixteen Candles[24] and The Breakfast Club.[25]

text: Wright's hire occurred while Moggach was on her third draft.[15] Despite her desire to work closely with Austen's dialogue, Wright made an effort to not "be too reverential to [it]. I don't believe people spoke like that then; it's not natural."[21] While a few scenes, such as the discussion over accomplished women, aligned closely with the author's original dialogue, many others "substituted instead a mixture of modern idiom and archaic-sounding sentence structure".[16] One alteration concerned politeness; Wright noted that while Austen's work had characters waiting before speaking, he believed that "particularly in big families of girls, everyone tends to speak over each other, finishing each other's sentences, etc. So I felt that the Bennet family's conversations would be overlapping like that."[10] Sense and Sensibility actress and screenwriter Emma Thompson aided in script development, though she opted to be uncredited. She advised the nervous director about adapting Austen for the screen and made dialogue recommendations, such as with parts of the Collins-Charlotte storyline.[26][27]

text: Citing the year Austen first wrote a draft of the novel,[note 1] Wright and Moggach changed the period setting from 1813 (the novel's publication date) to the late eighteenth century; this decision was partly because Wright wanted to highlight the differences within an England influenced by the French Revolution,[10][21] as he was fascinated that it had "caused an atmosphere among the British aristocracy of fear".[23] Additionally, Wright chose the earlier period because he hated dresses with an empire silhouette, which were popular in the later period.[10][21] The decision helped make the film visually distinct from other recent Austen adaptations.[24] In comparison to the popular 1995 BBC version, which featured Colin Firth and Jennifer Ehle, producer Paul Webster desired to make an adaptation that "doesn't conform to the television drama stereotypes of a perfect clean Regency world".[10] Wright and Moggach opted for a "muddy hem version" of Longbourn, presenting a more rural setting than in previous adaptations[29][14] out of a desire to depict the Bennets in "very close proximity to their rural life"[21] and to emphasise their relative poverty.[30] While the degree of poverty was criticised by some critics, Wright felt that the "mess adds to the drama of the predicament that the family were in", and helps contrast the Bennets, Darcys, and Bingleys.[31]

text: Casting[edit]

text: Wright found casting of the film to be difficult because he was very particular about "the types of people [he] wanted to work with".[22] While interviewing to direct, he insisted that the actors match the ages of the characters in the novel.[23] Wright specifically cast actors that had rapport on and off screen, and insisted that they partake in three weeks of rehearsal in improvisation workshops.[15] Wright also had to balance who he thought was best for each role with what the producers wanted – mainly a big name attraction.[22] Though Wright had not initially pictured someone as attractive as English actress Keira Knightley for the lead role of Elizabeth Bennet,[19] he cast her after realising that the actress "is really a tomboy [and] has a lively mind and a great sense of humour".[10] Knightley at the time was known for Bend It Like Beckham and the Pirates of the Caribbean film series.[24] She had been an Austen fan since age 7, but initially feared taking the role out of apprehension that she would be doing "an absolute copy of Jennifer Ehle's performance", which she deeply admired.[32] Knightley believed Elizabeth is "what you aspire to be: she's funny, she's witty and intelligent. She's a fully rounded and very much loved character."[33] For the period, the actress studied etiquette, history and dancing but ran into trouble when she acquired a short haircut while preparing for her role in the bounty hunter film Domino.[32]

text: Webster found the casting of Darcy especially hard due to the character's iconic status and because "Colin Firth cast a very long shadow" as the 1995 Darcy.[34] Wright later commented that his choice of Knightley allowed him to cast comparative unknown Matthew Macfadyen, something that would have been impossible had he chosen a less well-known actress for Elizabeth Bennet.[22] Macfadyen at the time was known for his role in the British television spy series Spooks,[34] but had no recognition internationally.[24] A fan of the actor's television work,[23] Wright called Macfadyen "a proper manly man ... I didn't want a pretty boy kind of actor. His properties were the ones I felt I needed [for Darcy]. Matthew's a great big hunk of a guy."[22] Macfadyen did not read the novel before filming, preferring to rely solely on the script.[35]

text: According to Wright, Rosamund Pike was cast as the eldest sister "because [he] knew she wasn't going to play her as a nice, simple person. Jane has a real interior world, she has her heart broken."[19] Despite being Pike's ex-boyfriend, Simon Woods was cast as her romantic interest Mr Bingley.[19] The other three Bennet sisters were played by Talulah Riley, Carey Mulligan, and Jena Malone, the only American actress among them.[10] Wright believed Malone to have a "pretty faultless English accent".[36] Mulligan heard about the casting call at a dinner hosted by Julian Fellowes, to whom she had written a letter after failing to get into drama school; she won the part after three auditions.[37][38] Tamzin Merchant appears as Georgiana Darcy; she was hired despite having no previous acting experience after she wrote a letter to the casting director.[10] In addition to Merchant, Pride & Prejudice was the feature film debut of both Mulligan[39] and Riley.[40]

text: Donald Sutherland reminded Wright of his own father and was cast as the Bennet patriarch;[36] Wright thought the actor possessed the "strength to handle those six women".[19] Brenda Blethyn was hired to play Mrs Bennet, whom Moggach believed to be the unsung heroine of the film;[41] Wright explained that it was "a tricky part [to fill], as she can be very annoying; you want to stop her chattering and shrieking. But Brenda has the humour and the heart to show the amount of love and care Mrs Bennet has for her daughters."[10] Wright convinced veteran actress Judi Dench to join the cast as Lady Catherine de Bourgh by writing her a letter that read "I love it when you play a bitch. Please come and be a bitch for me."[5][19] Dench had only one week available to shoot her scenes, forcing Wright to make them his first days of filming.[26][42]

text: Costume design[edit]

text: Known for her BAFTA award-winning work on the 2004 film Vera Drake, Jacqueline Durran was hired as the costume designer. She and Wright approached his film "as a difficult thing to tackle" because of their desire to distinguish it from the television adaptation. Due to Wright's dislike of the high waistline, Durran focused on later eighteenth century fashions that often included a corseted, natural waistline rather than an empire silhouette (which became popular after the 1790s).[43] A generational divide was established: the older characters dress in mid-eighteenth century fashions while the young wear "a sort of proto-Regency style of hair and dress".[44] Mrs Bennet was of the older generation, and her dresses appeared to have been mended.[35]

text: Durran's costumes also helped emphasise social rank among the different characters;[45] Caroline Bingley for instance is introduced in an empire silhouetted dress, clothing that would have then been at the height of fashion.[46] During her interview, Durran opined that all the women wear white at the Netherfield Ball due to its contemporary popularity, an idea that Wright credits as his reason for hiring her.[47] All of the costumes were handmade, as clothing was at the time.[35] However, costumes and hairstyles were adjusted to appeal to contemporary audiences, sacrificing historical accuracy.[48]

text: To help differentiate the Bennet sisters, Durran viewed Elizabeth as the "tomboy", clothing her in earthy colours because of her love of the countryside.[43] For the other sisters, Durran remarked, "Jane was the most refined and yet it's still all a bit slapdash and homemade, because the Bennets have no money. One of the main things Joe wanted was for the whole thing to have a provincial feel. Mary is the bluestocking: serious and practical. And then Lydia and Kitty are a bit Tweedledum and Tweedledee in a kind of teenage way. I tried to make it so that they'd be sort of mirror images. If one's wearing a green dress, the other will wear a green jacket; so you always have a visual asymmetry between the two."[43] In contrast to the 1940 film, the 2005 production displayed the Bennet sisters in worn-down but comfortable dresses[30] that allowed the actors better moveability.[35]

text: Mr Darcy's costume went through a series of phases. Durran noted:

text: "The first time we see him he's at Meriton  [sic], where he has a very stiffly tailored jacket on and he's quite contained and rigid. He stays in that rigid form for the first part of the film. By the time we get to the proposal that goes wrong in the rain, we move to a similar cut, but a much softer fabric. And then later he's got a completely different cut of coat, not interlined and he wears it undone. The nth degree is him walking through the mist in the morning, completely undressed by 18th-century standards. It's absolutely unlikely, but then Lizzie's in her nightie, so what can you say?"[43]

text: Filming[edit]

text: Moggach believed the novel was very filmable, "despite it containing no description and being a very unvisual book".[15] To Wright, many other period films had relied on paintings for inspiration rather than photographs, causing them to appear unreal. He thus used "Austen's prose [to give him] many visual references for the people in the story", including using close-up shots of various characters.[10] The filmmakers also changed several scenes to more romantic locales than those in the book. For instance, in the film, Darcy first proposes outdoors in a rainstorm at a building with neoclassical architecture; in the book, this scene takes place inside a parsonage. In the film, his second proposal occurs on the misty moors as dawn breaks;[50][51] in the book, he and Elizabeth are walking down a country lane in broad daylight.[52] Wright has acknowledged that "there are a lot of period film clichés; some of them are in the film and some are not, but for me it was important to question them".[10]

text: During script development, the crew spent four to five months scouting locations,[35] creating a "constant going back and forth between script and location".[15] The film was shot entirely on location within England on an 11-week schedule[6][10] during the 2004 summer.[54] Co-producer Paul Webster noted that "it is quite unusual for a movie this size to be shot entirely on location. Part of Joe [Wright]'s idea was to try to create a reality which allows the actors to relax and feel at one with their environment."[10] Working under production designer Sarah Greenwood and set decorator Katie Spencer, the crew filmed on seven estates in six different counties. Because "nothing exists in the United Kingdom that is untouched by the twenty-first century", many of the sites required substantial work to make them suitable for filming.[55] Visual effects company Double Negative digitally restored several locations to make them contemporaneous; they eradicated weeds, enhanced gold plating on window frames, and removed anachronisms such as gravel driveways and electricity pylons. Double Negative also developed the typeface used for the film's title sequence.[56]

text: Production staff selected particularly grand-looking residences to better convey the wealth and power of certain characters.[57] Locations included Chatsworth House in Derbyshire, the largest privately held country house in England. Chatsworth and Wilton House in Salisbury stood in for Pemberley.[18][49] After a search of various sites in England, the moated manor house Groombridge Place in Kent was chosen for Longbourn.[58] Location manager Adam Richards believed Groombridge had an "immense charm" that was "untouched by post-17th Century development".[59] Reflecting Wright's choice of realism, Groombridge's interior was designed to be "shabby chic".[60] Representing Netherfield Park was the late-18th century site Basildon Park in Berkshire, leading it to close for seven weeks to allow time for filming.[61] Burghley House in Cambridgeshire[18][53] stood in for Rosings, while the adjacent town of Stamford served as Meryton. Other locations included Haddon Hall (for The Inn at Lambton), the Temple of Apollo and Palladian Bridge of Stourhead (for the Gardens of Rosings), Hunsford (for Collins' parsonage and church) and Peak District (for Elizabeth and the Gardiners' tour).[49] The first dance scenes were shot on a set in a potato warehouse in Lincolnshire with the employment of local townspeople as extras;[15] this was the only set the crew built that was not already in existence.[62]

text: Wikimedia Commons has media related to Film locations of Pride and Prejudice (2005).

text: Music[edit]

text: Italian composer Dario Marianelli wrote the film score, the first of his four collaborations with Wright. Their relationship began when Paul Webster, who had worked with Marianelli on the 2001 film The Warrior, introduced him to Wright. In their first conversation, Marianelli and Wright discussed the early piano sonatas of Ludwig van Beethoven, which "became a point of reference" and "starting point" for the original score.[63] In addition to Beethoven, pieces such as "Meryton Townhall" and "The Militia Marches In" (featuring the flute) were inspired by the film's period,[64] with the intention that they could conceivably have been heard during that time. "Meryton Townhall" and "Another Dance" contained actual dance cues that were fitting for the late eighteenth century. According to music critic William Ruhlmann, Marianelli's score had a "strong Romantic flavour to accompany the familiar romantic plot".[65]

text: Multiple scenes feature actors playing pianos, forcing Marianelli to complete several of the pieces before filming began. According to him, "Those pieces already contained the seeds of what I developed later on into the score, when I abandoned historical correctness for a more intimate and emotional treatment of the story".[63] Marianelli was not present when the actors played his music due to the birth of his second daughter.[63] The soundtrack featured French pianist Jean-Yves Thibaudet, whom Wright considered one of the greatest piano players in the world.[66] Thibaudet was accompanied by the English Chamber Orchestra. The soundtrack ultimately contained seventeen instrumental tracks of music organised in a different way from the film.[64]

text: Editing[edit]

text:
"You have to be true to the integrity of the book and to Jane Austen, but then you also have to be quite ruthless. What you don't see, you don't miss ... By focusing on Elizabeth Bennett and what's happening to her, and her gruelling and difficult journey, certain things slough off as you go along."

— Deborah Moggach on editing the film[15]

text: In contrast to the five-hour BBC adaptation,[67] Wright compressed his film into two hours and nine minutes of screen time.[68] He remarked that the film is "obviously about Elizabeth and Darcy, following them and anything that detracts or diverts you from that story is what you have to cut".[22] Some of the most notable changes from the original book include time compression of several major sequences, including the departure of Wickham and the militia, Elizabeth's visit to Rosings Park and Hunsford Parsonage, Elizabeth's visit to Pemberley, Lydia's elopement and subsequent crisis; the elimination of several supporting characters, including Mr and Mrs Hurst, Mr and Mrs Phillips,[14] Lady and Maria Lucas, Mrs Younge, several of Lydia's friends (including Colonel and Mrs Forster) and various military officers and townspeople;[67] and the elimination of several sections in which characters reflect or converse on events that have recently occurred—for example, Elizabeth's chapter-long change of mind after reading Darcy's letter.[69]

text: Moggach and Wright debated how to end the film, but knew they did not want to have a wedding scene "because we didn't want Elizabeth to come off as the girl who became a queen at this lavish wedding, or for it to be corny".[14] Shortly before the North American release, the film was modified to include a final scene (not in the novel) of the married Darcys enjoying a romantic evening and passionate kiss at Pemberley[70][71] in an attempt to attract sentimental viewers;[14] this became a source of complaint for the Jane Austen Society of North America (JASNA). After watching a preview of the film before its wide release, former JASNA president Elsa Solender commented, "It has nothing at all of Jane Austen in it, is inconsistent with the first two-thirds of the film, insults the audience with its banality and ought to be cut before release".[72] It had been removed from the British version after preview audiences found it unintentionally humorous;[73] however, later audiences complained that they were excluded from viewing this version, causing the film to be re-released in the UK and Ireland 10 weeks after the original UK premiere date.[74][75] The original British version ended with Mr Bennet's blessing upon Elizabeth and Darcy's union,[5] thus circumventing the last chapter in the novel, which summarises the lives of the Darcys and the other main characters over the next several years.[76]

text: Major themes and analysis[edit]

text: Romanticism and realism[edit]

text: Film, literary, and Austen scholars noted the appearance of romance and romanticism within Pride & Prejudice, especially in comparison to previous adaptations.[77] Sarah Ailwood marked the film as "an essentially Romantic interpretation of Austen's novel", citing as evidence Wright's attention to nature as a means to "position Elizabeth and Darcy as Romantic figures ... Wright's Pride & Prejudice takes as its central focus Austen's concern with exploring the nature of the Romantic self and the possibilities for women and men to achieve individual self-fulfillment within an oppressive patriarchal social and economic order."[78] Likewise, Catherine Stewart-Beer of Oxford Brookes University called Elizabeth's presence on the Derbyshire cliff a "stunning, magical evocation of Wright's strong stylistic brand of Postmodern Romanticism", but found this less like Austen and more reminiscent of Emily Brontë's Wuthering Heights.[79] In her analysis, University of Provence scholar Lydia Martin concluded that the "Romantic bias of the film is shown through the shifts in the characters' relationships, the soundtrack and the treatment of landscape".[80]

text: Realism is a prominent aspect of the film, a theme confirmed by Wright in interviews as well as the DVD audio commentary.[81] In a 2007 article, Ursinus College film studies professor Carole Dole argued that Pride & Prejudice is "a hybrid that embraces both an irreverent realism to which younger audiences are accustomed (and which reflects the director's realist aesthetic) and the classic heritage film's reverence for country houses, attractive landscapes and authentic period detail". Such "irreverent realism" included the depiction of Longbourn as a working farm complete with chickens, cattle and pigs; as Dole explains, "The agricultural realities of 1790s England are equally evident in the enclosed yard with barn and hay where Lizzie twirls barefoot over the mud on a rope swing". Referring to recent adaptations such as 1999's gritty Mansfield Park, Dole cited Pride & Prejudice as evidence that the heritage film is still around but has "been transformed into a more flexible genre".[5] Jessica Durgan agreed with this assessment, writing that the film "simultaneously reject[s] and embrac[es] heritage to attract a larger audience".[8]

text: Family[edit]

text: Raised with three sisters, Moggach was particularly interested in the story's family dynamics.[10] Brock University professor Barbara K. Seeber believed that in contrast to the novel, the 2005 adaptation emphasises the familial over the romantic. Evidence of this can be seen in how Pride & Prejudice "significantly recast the Bennet family, in particular its patriarch, presenting Mr Bennet as a sensitive and kind father whose role in the family's misfortunes is continually downplayed."[82] Seeber further observed that the film is "the first to present Mrs Bennet in a sympathetic light", with Mr Bennet displayed as "an attentive husband as well as a loving father."[82]

text: Stewart-Beer and Austen scholar Sally B. Palmer noted alterations within the depiction of the Bennet family;[83] Stewart-Beer remarked that while their family home "might be chaotic, in this version it is, at heart, a happy home—much happier and much less dysfunctional, than Austen's original version of Longbourn ... For one, Mr and Mrs Bennet actually seem to like each other, even love each other, a characterisation which is a far cry from the source text."[79] Producer Paul Webster acknowledged the familial theme in the DVD featurette "A Bennet Family Portrait", remarking "Yes, it's a great love story between Elizabeth Bennet and Fitzwilliam Darcy, but underpinning it all is the kind of love that runs this family."[82]

text: Depiction of Elizabeth Bennet[edit]

text: Wright intended for the film to be "as subjective as possible" in being from Elizabeth's perspective; the audience first glimpses Darcy when she does.[84] This focus on Elizabeth features some dramatic changes from the novel. Knightley's Elizabeth has an "increasingly aloof and emotionally distant" relationship with her family. Evidence of this can be seen with Elizabeth's gradual alienation from Jane as the film progresses; this is in contrast to the book, where Elizabeth confides more of her feelings to Jane after difficult events.[79] Wright wanted to create a "real" relationship between the two sisters and have them grow apart, as he thought the book depicted them as too "syrupy."[85] Moggach's intent was for Elizabeth to "keep secrets to herself. They are a great burden to her ... As she keeps all this to herself, we feel for her more and more. The truest comedy, I believe, is born from pain."[10]

text: In her "feisty, impassioned" interactions with Darcy and "rebellious refusal to 'perform'" for Lady Catherine, Stewart-Beer sees Knightley's depiction as "far removed from Austen's original Elizabeth, who has a greater sense of grounded maturity, even though both Elizabeths have an occasional inclination to fluster, fun and giggles."[79] According to George Washington University professor Laurie Kaplan, while Wright's focus on Elizabeth is consistent with the novel, the screenplay removed her line of self-recognition: "Till this moment, I never knew myself". Kaplan characterises the sentence as Elizabeth's "most important", and believes its deletion "violates not only the spirit and the essence of Austen's story but the viewer's expectations as well."[86]

text: Release[edit]

text: Marketing[edit]

text: After a string of Jane Austen semi-adaptions in the late 1990s and early 2000s,[note 2] Pride & Prejudice was positioned to take audiences "back into the world of period drama and what many saw as a more authentic version of Austen."[7] While the novel was known to audiences, the large number of related productions required the film to distinguish itself.[88] It was marketed to attract mainstream, young viewers,[89] with one observer referring to it as "the ultimate chick-flick romance" and "more commercial than previous big-screen Austen adaptations."[90] Another wrote that it brings "millennial girlhood to the megaplex ... If Ehle's Lizzie is every forty-, or fifty-something's favorite independent, even 'mature,' Austen heroine, Knightley is every twenty-something's sexpot good girl."[91] An ampersand replaced the word "and" in the film title, similar to the 1996 postmodern film Romeo + Juliet.[5]

text: Already a star at the time of release, Knightley's appearance in the film was emphasised by featuring her in all promotional materials (similar to Colin Firth's prominent appearance in the 1995 adaptation).[92] Several commentators likened the main poster of Pride & Prejudice to that of 1995's Sense and Sensibility, which was seen as an attempt to attract the same demographic.[13] Advertising noted that the film came "from the producers of Bridget Jones's Diary", a 2001 romantic comedy film, before mentioning Austen.[5] Leading up to the release, fans were allowed to download pictures and screensavers online, which emphasised the differences between Pride & Prejudice and previous adaptations. Lydia Martin wrote that in contrast to past Pride and Prejudice productions, marketing materials downplayed the "suggested antagonism between the heroes" in favour of highlighting a "romantic relationship", as can be seen with the positioning of the characters as well as with the tagline, "Sometimes the last person on earth you want to be with is the one you can't be without."[80]

text: Box office[edit]

text: On 11 September 2005, Pride & Prejudice premiered at the Toronto International Film Festival as a special Gala Presentation.[93][94] The film was released in cinemas on 16 September in the United Kingdom and Ireland.[95][96] It achieved the number one spot in its first week, earning £2.5 million ($4.6 million) while playing on 397 screens.[97][98][99] The film stayed at the top for two more weeks, earning by then a total of over £9 million at the UK box office. It was featured on 412 screens at its widest domestic release.[99]

text: On 11 November 2005, the film debuted in the United States with an opening weekend of $2.9 million on 215 screens.[100] Two weeks later, it played on 1,299 screens and box office returns increased to $7.2 million; the film left cinemas the week of 24 February 2006 with a total US gross of $38,405,088.[4] Jack Foley, the president of distribution of Focus Features, the film's US distributor, attributed Pride & Prejudice's success in America to Austen's appeal to "the boomer market" and its status as a known "brand".[101]

text: Pride & Prejudice was released in an additional fifty-nine countries between September 2005 and May 2006 by United International Pictures.[98] With a worldwide gross of $121,147,947, it was the 72nd highest grossing film of 2005 in the US and was the 41st highest internationally.[4]

text: Home media[edit]

text: In the US and UK, Universal Studios Home Entertainment released the standard VHS and DVD in February 2006 for both widescreen and fullframe; attached bonus features included audio commentary by director Joe Wright, a look into Austen's life and the ending scene of Elizabeth and Darcy kissing.[68][4][102] On 13 November 2007, Universal released the deluxe edition DVD to coincide with the theatrical arrival of Wright's 2007 film Atonement. The deluxe edition included both widescreen and fullscreen features, the original soundtrack CD, a collectible book and booklet, as well as a number of special features not included in the original DVD.[103] In the US, a Blu-ray version of the film was released by Universal on 26 January 2010, which also contained bonus features.[104]

text: Reception[edit]

text: Pride & Prejudice was only the second film version after "the famed, but oddly flawed, black-and-white 1940 adaptation, starring Greer Garson and Laurence Olivier",[105] and until 2005, The Times considered the 1995 television adaptation "so dominant, so universally adored, [that] it has lingered in the public consciousness as a cinematic standard."[105] Wright's film consequently met with some scepticism from admirers of Austen, especially in relation to plot changes and casting choices.[106]"Any resemblance to scenes and characters created by Miss Austen is, of course, entirely coincidental," mocked The New Yorker's film critic.[107] Given Austen's characters were landed gentry, especially criticised was the re-imagining of the Bennetts as country bumpkins, lacking even the basics of table manners, and their home "a barnyard".[108]

text: Comparing six major adaptations of Pride and Prejudice in 2005, The Daily Mirror gave the only top marks of 9 out of 10 to the 1995 serial and the 2005 film, leaving the other adaptations behind with six or fewer points.[109] On review aggregation website Rotten Tomatoes the film has a "certified fresh" approval rating of 85% based on reviews from 172 critics, with an average rating of 7.7 out of 10. The website's consensus reads: "Sure, it's another adaptation of cinema's fave Jane Austen novel, but key performances and a modern filmmaking sensibility make this familiar period piece fresh and enjoyable."[110] Metacritic reported an average score of 82 out of 100, based on 37 reviews and classified the film as "universally acclaimed".[111]

text: Critics claimed the film's time constraints did not capture the depth and complexity of the television serials[18] and called Wright's adaptation "obviously [not as] daring or revisionist" as the serial.[112] JASNA president Joan Klingel Ray preferred the young age of Knightley and Macfadyen, saying that Jennifer Ehle had formerly been "a little too 'heavy' for the role."[113] Peter Bradshaw of The Guardian, while praising Knightley for an outstanding performance "which lifts the whole movie", considered the casting of the leads "arguably a little more callow than Firth and Ehle." He does add that "Only a snob, a curmudgeon, or someone with necrophiliac loyalty to the 1995 BBC version with Colin Firth and Jennifer Ehle could fail to enjoy [Knightley's] performance."[112] At the time, BBC film critic Stella Papamichael considered it Knightley's "best performance yet."[95] However, The Daily Telegraph critic thought Knightley's acting skills slight, in her view, "Someone who radiates little more than good-mannered perkiness", and that between her and Macfadyen there was "little spark".[114]

text: Critics were divided about Macfadyen's portrayal of Darcy, expressing pleasant surprise,[113][115] dislike for his lack of gradual emotional shift as in the novel,[113][116] and praise for his matching the insecure and sensitive personality of the book character better than Firth.[18]

text: Critics also drew attention to other aspects of the film. Writing for The Sydney Morning Herald, Sandra Hall criticised Wright's attention to realism for being "careless with the customs and conventions that were part of the fabric of Austen's world."[117] In another review, Time Out magazine lamented the absence of Austen's "brilliant sense of irony", remarking that the film's "romantic melodrama's played up at the expense of her razor-sharp wit."[116] More positively, Derek Elley of Variety magazine praised Wright and Moggach for "extracting the youthful essence" of the novel while also "providing a richly detailed setting" under Greenwood and Durran's supervision.[6] Equally pleased with the film was the San Francisco Chronicle's Ruthe Stein, who wrote that Wright made a "spectacular feature film debut" that is "creatively reimagined and sublimely entertaining".[118] Claudia Puig of USA Today called it "a stellar adaptation, bewitching the viewer completely and incandescently with an exquisite blend of emotion and wit."[119]

text: Accolades[edit]

text:
Award
Category
Recipients and nominees
Result

Academy Awards[120]
Best Actress
Keira Knightley
Nominated

Best Original Score
Dario Marianelli
Nominated

Best Art Direction
Sarah Greenwood, Katie Spencer
Nominated

Best Costume Design
Jacqueline Durran
Nominated

American Cinema Editors[121]
Best Edited Feature Film – Comedy or Musical
Paul Tothill
Nominated

Boston Society of Film Critics[122]
Best New Filmmaker
Joe Wright
Won

British Academy Film Awards[123][124]
Best British Film
Pride & Prejudice
Nominated

Best Actress in a Supporting Role
Brenda Blethyn
Nominated

Most Promising Newcomer
Joe Wright
Won

Best Adapted Screenplay
Deborah Moggach
Nominated

Best Costume Design
Jacqueline Durran
Nominated

Best Makeup & Hair
Fae Hammond
Nominated

Broadcast Film Critics Association[125]
Best Actress
Keira Knightley
Nominated

Chicago Film Critics Association[126]
Best Actress
Keira Knightley
Nominated

Best Cinematography
Roman Osin
Nominated

Best Supporting Actor
Donald Sutherland
Nominated

Most Promising Filmmaker
Joe Wright
Nominated

Empire Awards[127]
Best Actress
Keira Knightley
Nominated

Best British Film
Pride & Prejudice
Won

Best Director
Joe Wright
Nominated

Best Newcomer
Kelly Reilly
Won

European Film Awards[128]
Best Cinematographer
Roman Osin
Nominated

Best Composer
Dario Marianelli
Nominated

Best Film
Joe Wright
Nominated

Golden Globe Awards[129]
Best Actress – Motion Picture Musical or Comedy
Keira Knightley
Nominated

Best Film – Musical or Comedy
Pride & Prejudice
Nominated

London Film Critics' Circle[130]
British Actress of the Year
Keira Knightley
Nominated

British Director of the Year
Joe Wright
Won

British Film of the Year
Pride & Prejudice
Nominated

British Newcomer of the Year
Matthew Macfadyen
Nominated

British Newcomer of the Year
Joe Wright
Nominated

British Supporting Actor of the Year
Tom Hollander
Won

British Supporting Actress of the Year
Brenda Blethyn
Nominated

British Supporting Actress of the Year
Rosamund Pike
Nominated

text: Impact and legacy[edit]

text: Wright's adaptation failed to have the same cultural impact as the 1995 serial and has since attracted sharply-divided opinions.[92][131][132] However, even three years after the release, Knightley was still associated with Elizabeth Bennet among a generation of young viewers who had not seen the 1995 production.[133] Given the varied opinions about the film, JASNA published an edited special issue of its online journal Persuasions On-Line in 2007 with the collaboration of nineteen Austen scholars from six countries; the intent was to foster discussion and stimulate scholarly analysis. JASNA had done this only once before, for the 1996 film Emma.[92][131][134]

text: Pride & Prejudice impacted later productions in the costume drama and heritage film genres. Literary critics protested that Wright's adaptation effectively "popularized Austen's celebrated romance and brought her novel to the screen as an easy visual read for an undemanding mainstream audience."[135] Carole Dole noted that the film's success "only made it more likely that future adaptations of Austen will feature, if not necessarily mud, then at least youthful and market-tested performers and youth-oriented filmmaking techniques balanced with the visual pleasures of the heritage film." She cited Anne Hathaway in the 2007 film Becoming Jane as an example.[5] Jessica Durgan added that Pride & Prejudice conceived a new hybrid genre by rejecting the visual cues of the heritage film, which attracted "youth and mainstream audiences without alienating the majority of heritage fans."[8]

text: Production of Pride & Prejudice began Wright's relationship with Working Title Films, the first of four collaborations.[136] Many members of the film's cast and crew joined Wright in his later directorial efforts. For his adaptation of Atonement, which he viewed as "a direct reaction to Pride & Prejudice",[137] Wright hired Knightley, Blethyn, Marianelli, Thibaudet, Greenwood, and Durran.[138] Atonement employed themes similar to Austen's, including the notion of a young writer living in "an isolated English country house" who "mixes up desires and fantasies, truths and fiction."[73] Wright's 2009 film The Soloist included Hollander, Malone, and Marianelli,[139][140][141] while Hollander was also featured in Hanna (2011).[142] Wright's 2012 adaptation of Anna Karenina features Knightley, Macfadyen, Marianelli, Durran, and Greenwood and is produced by Bevan, Eric Fellner, and Webster.[136]

text: On 11 December 2017, Netflix announced that a person from Chile watched the film 278 times during the entire year.[143] It was later reported that the person is a 51-year old woman, who declared herself as "obssesed" to the film and sees Elizabeth Bennet as "a feminist icon".[144]


document_title: The Secret Life of the American Teenager (season 1)

question_text: when does amy decide to keep the baby

question_tokens: when does amy decide to keep the baby

root

text: Main cast[edit]

text:
Shailene Woodley as Amy Juergens
Kenny Baumann as Ben Boykewich
Mark Derwin as George Juergens
India Eisley as Ashley Juergens
Greg Finley as Jack Pappas
Daren Kagasoff as Ricky Underwood
Jorge-Luis Pallo as Marc Molina
Megan Park as Grace Bowman
Francia Raisa as Adrian Lee
Molly Ringwald as Anne Juergens

text: Episodes[edit]

text:
No. in
series
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

1
1
"Falling In Love"
Ron Underwood
Brenda Hampton
July 1, 2008 (2008-07-01)
2.82[5]

After losing her virginity to 16-year-old Ricky Underwood at band camp, 15-year-old Amy Juergens discovers that she is pregnant. Scared to tell her parents and unsure what to do, she turns to her two best friends, Lauren and Madison, for help. To confirm the pregnancy they run out and buy her three different pregnancy tests, all of which turn up positive. They encourage her to go to her doctor but not to tell until she is absolutely certain. Meanwhile, in a quest to lose his virginity, Ben Boykewich, sees Amy across the crowded hallway and is encouraged by his best friends, Henry and Alice, to ask her out. He joins the band to meet her and one day asks her to the homecoming dance after the school's big football game. There he becomes completely enamored by her, as does she, however Amy struggles with having to tell him that she's pregnant. Lauren and Madison attempt to convince Amy to have sex with Ben and tell him the baby is his, but she refuses. Ricky comes up to Amy telling her she shouldn't be with Ben. Meanwhile, Jack Pappas, longtime boyfriend to the adherently Christian Grace Bowman, struggles with the idea of having to wait at least ten more years to have sex with Grace. Under pressure he secretly spends the night with Adrian Lee, the school majorette and Ricky's girlfriend. At the dance he begs her not to tell anyone about their night spent together. They kiss and are caught by Tom Bowman, Grace's brother, who alerts Grace (as well as the entire school) to Jack's infidelity.

2
2
"You Are My Everything"
Keith Truesdell
Brenda Hampton
July 8, 2008 (2008-07-08)
2.81[6]

Despite Madison and Lauren's insistence that Amy tell her parents about their pregnancy, Amy insists on convincing herself that Ricky and her pregnancy never happened and tries to go about her life as normal. As they discuss Amy's situation, they are overheard by Henry and Alice in the hallway and the rumor spreads throughout the school that Ricky and Amy had sex. Meanwhile, Ricky attempts to pursue Amy, despite her insistence that she is seeing someone else and is not interested. Despite the new rumor about Ricky and Amy and despite Adrian's kiss with Jack, Adrian and Ricky continue to see each other, however their relationship is wrought with constant bickering. Ben continues to be completely enamored by Amy, even going to far as admitting to Henry and Alice that he can see himself marrying her. They warn him about the rumor they overheard and he begins to fear that he is in competition with Ricky. He tells Amy he heard the rumors but that they mean nothing to him, telling Amy he loves her. During this time, Jack is also pleading with Grace for forgiveness but she refuses to speak to him. At school, she calls her mother and asks to take her home. Her mother encourages her not to blame herself (or Jack and Adrian) and to just let things go. When Jack comes by Grace's house her father shoos him off the porch, however, hearing that Jack came to see her makes her begin to want Jack back again, despite her father's warnings to stay away from him from now on. She tells Jack the next day at school that she is willing to forgive Jack and go back out with him as long as she gets her parent's permission and as long as he doesn't try to pressure her into having sex until she's ready and Jack agrees.

3
3
"I Feel Sick"
Ron Underwood
Brenda Hampton
July 15, 2008 (2008-07-15)
2.48[7]

Ben continues to fall hard for Amy, and the two share their first kiss. Elsewhere, Amy tells her sister about her pregnancy before she tells her parents , Grace uses Ricky as a cover to sneak around with Jack, and a jealous Adrian feels like Ricky is just using her for sex.

4
4
"Caught"
Keith Truesdell
Brenda Hampton
July 22, 2008 (2008-07-22)
3.09[8]

Amy can't stand Ben's clingy behavior, especially in the face of her parents' increasingly strained relations with one another. Elsewhere, Ricky continues to play a part in Grace and Jack's plot to see each other, but as things backfire, Jack seeks comfort from Adrian.

5
5
"What Have You Done to Me?"
Ron Underwood
Brenda Hampton
July 29, 2008 (2008-07-29)
3.58[9]

Ben and Amy are at odds about what to do: he's thinking marriage and that the baby might be his, while she's thinking about having an abortion. Elsewhere, Ashley pleads with her dad not to leave home and Grace learns that Jack did more than kiss Adrian.

6
6
"Love for Sale"
Keith Truesdell
Brenda Hampton
August 5, 2008 (2008-08-05)
4.10[10]

After much delay, Amy tells her mother that she's pregnant. Meanwhile, on a day Amy doesn't show up at school, rumors circulate that she took off in order to "take care" of her problem.

7
7
"Absent"
Anson Williams
Brenda Hampton & Jeffery Rodgers
August 12, 2008 (2008-08-12)
3.70[11]

Amy weighs her options regarding her residency situation. Meanwhile, Ricky wrestles with taking responsibility for his actions.

8
8
"Your Cheatin' Heart"
Keith Truesdell
Brenda Hampton & Elaine Arata
August 19, 2008 (2008-08-19)
3.91[12]

Amy's grandmother, "Mimsy" (Alice Hirson), visits the family and offers to help out with Amy's situation. Later on they, find out that she has Alzheimer's. Elsewhere, Adrian makes sure her budding friendship with Grace is on display for all to see.

9
9
"Slice of Life"
Jason Priestley
Brenda Hampton, Jeff Olsen, & Chris Olsen
August 26, 2008 (2008-08-26)
3.65[13]

Amy and Ashley spend some time bonding with their dad, while Adrian locates her estranged father. Elsewhere, Tom has a little party for himself, complete with pizza and a prostitute (Jennifer Coolidge) he calls, and Jason and Madison see Lauren kissing Ricky. Amy finds out that her dad, George, is seeing Adrian's mom. Meanwhile, Adrian finds her dad as she waits out by his house. Near the end, Anne find out that George was sleeping with Adrian's mom and is now sleeping in the furniture store. Anne and Ashley now think that George is broke and they are now in poverty.

10
10
"Back to School Special"
Keith Truesdell
Caroline Kepnes
September 2, 2008 (2008-09-02)
3.90[14]

Amy finally makes a decision regarding where she will go to school. Elsewhere, Adrian's mom suggests that Adrian develop a relationship with her dad; and Henry and Alice take a new step in their relationship. When Amy returns to school the next day, Ben, Grace, Jack, Henry, Alice, Lauren, Madison, Jason, and Ricky supports Amy's decision to come back to school.

11
11
"Just Say No"
Jason Priestley
Teleplay by: Jeff Olson & Caroline Kepnes
Story by: Elaine Arata & Brenda Hampton
September 9, 2008 (2008-09-09)
4.54[15]

Adrian disappears from school, which sparks a salacious rumor and a call to the police from her dad. Meanwhile, Grace receives multiple warnings about Ricky, and Amy and Ben mull the next move in their relationship.

12
12
"The Secret Wedding of the American Teenager"
Lindsley Parsons III
Brenda Hampton
January 5, 2009 (2009-01-05)
4.37[16]

After hearing that she will need to get a job and accept responsibility if she was to keep her baby, Amy plans to get married to Ben with fake IDs. Ricky finds out and goes to a boy at school to get one for himself--as do Henry, Alice, Ashley, Adrian, Grace, Lauren, Madison, Jason, and Jack. George moves into the Juergens' garage.

13
13
"Baked Nevada"
Anson Williams
Brenda Hampton
January 12, 2009 (2009-01-12)
3.10[17]

Party's over when George and Leo catch Amy and Ben at their wedding reception. Back at the chapel, Tom wants to marry Tammy but Grace stops him. Elsewhere, Ricky starts visiting Adrian again and Amy and Ben learn that their marriage is not legally valid. Jack steps up and falsely confesses to creating the fake IDs, and is forced to do community service. Anne talks with Amy and Ben and gives them advice on what they should do with the baby, when Amy feels her baby kick for the first time.

14
14
"The Father and the Son"
Keith Truesdell
Brenda Hampton
January 19, 2009 (2009-01-19)
3.91[18]

Ashley enlists the help of Reverend Stone (Tom Virtue) to ensure that her parents will stay together. Ricky's estranged father, Bob (MADtv's Bryan Callen), returns to town on parole in search of his son. He pays a visit to Amy and her family and later threatens Ricky with the possibility of giving the baby up for adoption. Amy reveals to her parents that Ricky has been sexually abused by his father and Anne suggests that they should seriously consider what's best for the baby-–adoption. Amy seriously considers this option and discusses it with Ben and Ricky, who both want her to keep the baby, but for very different reasons. Anne seeks out the advice of Reverend Stone to see if he knows any nice families who are looking to adopt.

15
15
"That's Enough of That"
Anson Williams
Brenda Hampton & Jeffrey Rodgers
January 26, 2009 (2009-01-26)
3.10[19]

Ricky tells Adrian about his abusive father and reveals that as long as his father is around, he won't see Grace. Come time to find out the sex of the baby, Ben is disappointed when Amy tells him she doesn't want him to come with her to her appointment. Meanwhile, Bob (Bryan Callen) again approaches Ricky with the idea of giving up the baby for adoption, and Jack's community service starts out very unexpectedly. Anne begins to fully accept the consequences of Amy being pregnant and Ben records a video of Amy, revealing that she is having a boy. Ricky's father goes back to jail for possession of illegal drugs.

16
16
"Chocolate Cake"
Keith Truesdell
Brenda Hampton & Jeffrey Rodgers
February 2, 2009 (2009-02-02)
3.05[20]

Ben is distraught over the fact that Ricky and Amy were planning to meet to talk about the baby without him. Frustrated, he decides to join them in their decision. Meanwhile, Anne goes to meet Reverend Stone and finds out about Ashley's plan to stop her parents' divorce. Jack finds out Shawna isn't interested in him and goes to see Grace to tell her that Ricky and Adrian are still having sex and Adrian's father catches her in a compromising position with her stepbrother, Max. Meanwhile, George finds out his two gay co-workers are interested in adopting Amy's baby and Ashley admits to Anne that she has been upset and promises not to act out anymore. Later, Ricky agrees to let Amy give the baby up for adoption.

17
17
"Unforgiven"
Jason Priestley
Brenda Hampton & Elaine Arata
February 9, 2009 (2009-02-09)
3.50[21]

Ben tells Amy that he needs some space and starts to doubt about his relationship with Amy who becomes aggravated. Jack and Shawna agree to see each other. Adrian and Grace argue over Ricky, but become closer to each other as a result. Elsewhere, Grace's parents apologize to each other and George interviews people who are interested in adopting Amy's baby. Meanwhile, Ricky and Amy get into a heated discussion about her breakup with Ben and putting the baby up for adoption. Making her hurt and upset by his objections, Ricky then tries to console her. George's gay co-workers come by and talk to George and Anne about them wanting to adopt Amy's baby, and Amy agrees. Ricky tells Jack that he is through with both of Adrian and Grace for good and wants to be with Amy.

18
18
"Making Up Is Hard to Do"
Keith Truesdell
Brenda Hampton, Chris Olsen, & Jeff Olsen
February 16, 2009 (2009-02-16)
3.51[22]

Ricky sees Dr. Fields and tells him that he has his mind set on Amy. He also tells him that he's going to try and sabotage the adoption. Ashley skips school, and runs into a schoolmate, Thomas. Then, Ashley tries to talk Ben into pursuing Amy. Elsewhere, Max comes over to Adrian's condo and go on their first date. Duncan tells Jack that if he hurts Shawna, he will pay the consequences. Later on, Amy and Ricky meet with Donovan and Leon. After the interview, Donovan and Leon decide that they want to try to adopt their foster kids instead.

19
19
"Money for Nothing, Chicks for Free"
Jason Priestley
Brenda Hampton & Caroline Kepnes
February 23, 2009 (2009-02-23)
3.27[23]

Anne receives a potential job offer, Adrian tries to change her style by "becoming a virgin again", and Jack raises money for underprivileged children. Elsewhere, Amy and Ben get back together, Donovan and Leon tell the Juergens they don't want to adopt Amy's baby, and Amy decides not to go through with adoption. Ashley sneaks around with Thomas and gets to know him better. Because of Amy's decision, Anne and Ben pressure her into getting a job.

20
20
"Maybe Baby"
Keith Truesdell
Brenda Hampton
March 2, 2009 (2009-03-02)
3.32[24]

Ben and Ricky both get a job together at Ben's dad's sausage shop. Meanwhile, George gets a loan on a foreclosed house, and Amy begins to worry about her diet. Ashley is clearly upset over Amy wanting to get rid of the baby and expresses her anger when she finds the tape that Amy and Ben made for the baby. Amy fights with Ashley and George, admitting she really does care about her son and Ashley tells Amy that she is a smart girl and that she can handle the baby. However, both envious Grace and Adrian want to make sure she does NOT keep the baby because it gives her a tie to Ricky. Amy's friends mysteriously all show up at her house and Grace tells Amy she found her a job at the Church where she could get day care and insurance. With the support of her friends and her father and sister, Amy changes her mind about keeping the baby. She asks her mother if she can keep the baby and her mother agrees.

21
21
"Whoomp! (There It Is)"
Jason Priestley
Brenda Hampton
March 9, 2009 (2009-03-09)
3.35[25]

A baby shower is planned for Amy. In the mean time, Grace and Jack reconnect and Ricky practices how to change a diaper. George tells Anne and Ashley that he is moving out, however, on her way to her baby shower, Amy goes into labor and George gets a call so he can meet Amy, Anne, and Ashley at the hospital. Ben suggests to Amy to call Ricky and tell him that she is in labor.

22
22
"One Night at Band Camp"
John Schneider
Brenda Hampton & Jeffrey Rodgers
March 16, 2009 (2009-03-16)
3.11[26]

As Amy goes into labor, she becomes cranky and flashes back to the first time she met Ricky at band camp and how he charmed her. Tom tries to get Grace and Jack back together and Grace asks her parents for their permission. Amy realizes the sex between her and Ricky wasn't entirely his fault and feels bad for blaming it all on him. Elsewhere, Ricky tells Ashley that he wants to care for the baby and help Amy by being a good friend and Adrian realizes she still cares for Ricky.

23
23
"And Unto Us, A Child Is Born"
Keith Truesdell
Brenda Hampton
March 23, 2009 (2009-03-23)
4.49[4]

Friends and family gather at the hospital to give their support to the Juergens family, who eagerly await the arrival of Amy's baby. At the same time, Ben and Ricky agree to forge a friendship as they discuss their future relationship. When Adrian arrives at the hospital to support Ricky, Grace tells Ricky that she's getting back together with Jack. Several hours later, Amy's baby is finally born, Amy's classmates all get to see the baby, and Amy and Ashley decide to name him John. Upon returning home, however, Amy struggles with adjusting to being a new mom. Later, Ricky visits his newborn son and realizes he might like fatherhood, while Ashley and George surprise Anne by moving out of the family home.

tag: table

text: Reception[edit]

text: The series received a mixed reception when it began broadcasting. Many mainstream critics praised the messages presented in the series, although it was also criticized for its direction and writing. New York Post praised the series for having a set of characters that are "...real and come from families of all stripes — from intact to single-parent households to one boy in foster care..."[27] The pilot episode broke the record for highest rated debut for ABC Family, beating Kyle XY, with 2.82 million viewers. The season one finale brought in 4.50 million viewers, beating the night's 90210 which had almost half its usual number of viewers.[4]

tag: p


document_title: Changu Narayan

question_text: who installed the stone inscription in front of the changu narayan temple

text: Changu Narayan

text: The Legend of Changu Narayan[edit]

text: In ancient times, a Gwala, or cow herder, had brought a cow from a Brahmin named Sudarshan. The cow was known for producing large quantities of milk. The Gwala used to take the cow to Changu for grazing. At that time Changu was a forest of Champak trees. While grazing, the cow always went to the shade of a particular tree. In the evening, when the Gwala took the cow home and started milking her, he got only a very small amount of milk. This continued several days. He grew very sad, so he called on the Brahmin saying the cow was not giving enough milk. After observing this with his own eyes, Sudarshan agreed with the Gwala they should observe the cow's daytime activity while she was grazing in the forest. Brahmin and Gwala both hid behind the trees and watched the cow. She went into the shade of one particular champak tree. To their surprise, a small black boy came out of the tree and started drinking the cow milk. The two men were furious because they thought the boy must be the devil and tree must be its home. So the Brahmin cut down the champak tree. When he was cutting it down, fresh human blood came out of the tree. Both Brahmin and Gwala got worried, believing they had committed a great crime and began to cry. Lord Vishnu emerged from the tree and told the Brahmin and cowherd it was not their fault. Vishnu told the story of how he had committed a heinous crime by unwittingly killing Sudarshan’s father while hunting in the forest. After that, cursed for the crime, he wandered the earth on his mouth, as ‘Garuda’ eventually descending on the hill at Changu. There he lived in anonymity, surviving on milk stolen from a cow. When Brahmin cut down the tree, Vishnu was beheaded, which freed Lord Vishnu from his sins. After hearing these words from Vishnu, Brahmin and Gwala resolved to worship the place and established a small temple in the name of Lord Vishnu. Ever since the site has been sacred. Even today, we find Sudarshan's descendant as a priest of the temple and the Gwala's descendants as ghutiyars (conservators). There's another legend too. About 400 years ago, a mighty warrior named pranjal lived. He still lives today. He was the strongest in the entire country. Another warrior known all over Nepal named Changu challenged Pranjal. Changu defeated him and won the hearts of Nepalis, so as a tribute to him this temple was constructed [1]

text: Physical Aspects[edit]

text: Changu Narayan Temple is situated at the top of the hill surrounded by a forest of Champak tree. On the main way to temple courtyard, we can find a human settlement. People from Newar community live in and around Changu Narayan area. With the development of tourism in this place, we can find many medium and small sized hotels, restaurants, souvenir shops, etc. An ancient stone tap is located on the way to Changunaran which is believed to have existed since the time of Lichhavi.

text: The Temple art and architecture[edit]

text: Changu Narayan is considered to be the oldest temple of Nepal. It remains a milestone in Nepali temple architecture with rich embossed works. The two-storey roofed temple stands on a high plinth of stone. According to Professor Madhan Rimal, Department of Sociology and Anthropology, Tribhuwan University, the temple is neither in Shikhara Style nor the Pagoda style. It has an architectural style which he would like to describe as a traditional Nepali temple. Many similar features are found at Gokarna Mahadev. The temple is surrounded by sculptures and arts related to Lord Vishnu. Also we can find the temples of lord Shiva, Ashta Matrika, Chhinnamasta, Kileshwor and Krishna inside the courtyard of the main temple. There are four entrances to the temple and these gates are guarded by life-size pairs of animals such as lions, sarabhas, graffins and elephants on each side of the entrances. The ten incarnations of Lord Vishnu and the other idols are carved in the struts, which support the roof. The entrance door is gilded with carvings of Nagas (snakes). On the main entrance gate (i.e. western entrance gate), we can find the Chakra, Sankha, Kamal and Khadga all at the top of a stone pillar. These stone pillars have an inscription in Sanskrit. This inscription is considered to be the oldest inscription of Nepal and the stone inscription pillar was erected by Lichhavi King Manadeva in 464 AD. The following monument are located while visiting the temple from the right side after entering from the main entrance (Eastern gate) to the courtyard.

text:
Historical pillar erected by Mandeva in 464 AD [2]
Garuda:- flying vehicle of Lord Vishnu which has got a human face and is a devotee of Vishnu.
Statue of Bhupalendra Malla, King of Kantipur and his queen BhuwanLakshmi.
Chanda Narayan (Garuda Narayan):- 7th century stone sculpture of Vishnu riding on Garuda. This sculpture has been depicted in the 10 rupee paper note issued by Nepal Rastra Bank
Sridhar Vishnu:- 9th century stone sculpture of Vishnu, Laxmi, and Garuda which stands on the pedestals of various motifs.
Vaikuntha Vishnu :- 16th-century sculpture of Vishnu seated on the lalitason position on the six armed Garuda and Laxmi seated on the lap of Vishnu
Chhinnamasta:- Temple dedicated to Chhinnamasta Devi, who beheaded herself, offered her own blood to feed the hungry Dakini and Varnini.
Vishworup:- 7th century stone sculpture- beautifully carved that depicts the scene from the Bhagwat Gita, in which Lord Krishna manifests his universal form to his devotee Arjun.
Vishnu Vikrant :- 7th-century sculpture of Trivikram Vishnu that depicts the scene of popular Hindu myth of Lord Vishnu and his beloved Bali Raja.
Narasimha :- 7th-century sculpture of Narasimha, an incarnation of Lord Vishnu, killing the demon King Hiranyakasyapa to save his beloved devotee Prahalad.
Kileshwor:- small two storied temples of Lord Shiva, who is believed to have appeared in this place for the protection of the hill.

text: The main image in the sanctum is worshiped by Hindus as a Garuda Narayan, and by Buddhists as a Hariharihari Vahan Lokeshwara.[3][4] Only the priest is allowed to see the image.

text: Information Centre[edit]

text: There is an information centre at the entrance to Changu Village. They issue tickets to tourist. The information center has a public toilet for tourist. Also drinking water facilities is available for tourist. But the drink water facilities have not been managed properly. Only direct tap water is available there. According to Binaya Raj Shrestha, owner of Chagu Museum and the member of temple management committee, on an average 150 foreigners visit Changu.

text: Changu Museum[edit]

text: A private museum is also located on in the Changu Narayan on the way to temple. According to Binaya Raj Shrestha, the owner of the museum, it is the first private museum of Nepal and it has the collection of ancient coins, tools, arts, and architectures. There is an excellent collection of ancient, historical, artistic, religious, archaeological, cultural and other rare objects. The museum has a good collection of ancient tools used by Newar family during the medieval period. It was established on the occasion of the millennium year 2000 AD with the permission of Changu Narayan VDC. The entrance fee for Nepalese is NRs. 50 and NRs. 300 is charged for a foreigner. On an average 35 visitors visit this museum in a day. Mostly foreigners and Nepali students visit this museum.

text: Ethnographic Museum[edit]

text: There is an ethnographic museum inside the building of the temple which incorporates both objects and photographs collected by Judith Davis. Entrance is INR. 250 for foreigners. There is also a small bookshop.

text: Festivals and Fairs[edit]

text: Since the ancient period, many festivals and fairs have been organized on various occasions. One of the main festivals of Changu is called Changu Narayan Jatra. The festival ‘Mahashanan’ held here as an important festival. On the day of ‘Jugadi Nawami’ and ‘Haribodhini Ekadashi’ special puja is conducted in Changu. Daily puja and aarati are conducted in the temple. On the occasion of family rituals, such as birthday, marriage, etc. local conduct special puja at the temple.

text: Management Approaches[edit]

text: Changu Narayan Temple is on the list of world heritage sites. The valuable stone sculpture and ancient inscriptions have archeological, historical and cultural significance. Changu Narayan VDC has formed a committee called Changu Narayan Temple Management Committee which is the responsible body to work for protection, preservation, and management. Likewise the Department of Archeology and Palace Management Office, Bhaktapur has also provided assistance on the conservation and preservation of the temple. Many local youth clubs are involved in managing festivals, organizing awareness programs in and around the temple area.

text: Threats/ Challenges[edit]

text: The Manohara stream has long seen rampant mining of sand and stones. The local administration has failed to control the mining activities. Because of the mining activities, the temple area has become prone to landslides. Due to overgrazing in the nearby forest, the chances of soil erosion and landslide are very high.

text: There is a challenge regarding the security of the unique sculptures. Also, the temple is getting older so renovation is necessary. The tourist information center has not been managed properly and they have not maintained good records of tourists. The museum is not issuing ticket bills after payments are made by Nepali visitors. Although Changu is only 8 miles east of Kathmandu, bus service is still lacking which means a newly constructed road to Changu has failed to bring in a significant number of tourists.So many tourists willing to come cannot come.There is also the not good facility of restaurants and hotels for tourists to stay.